Paul Goodwin (conductor, Handel: Radamisto) ![]() Stylistically highly versatilie she performs with famous orchestras and ensembles, among them John Eliot Gardiner, Jeffrey Tate, Marc Minkowski, René Jacobs, Roger Norrington. Ann Truelove in The Rake’s Progress, Mozart’s Countess and Purcell’s Dido. Her repertoire is widespread and comprises baroque music and contemporary works. Is head of vocal and opera studies at the Royal Northern College of Music (RNCM) as well as the University of York and is a Professor of Leeds College of Music. And besides teaching, he edits musical manuscripts. He performs as soloist as well as continuo player with chamber music groups and orchestras. Works as harpsichordist, organ player and conductor. He has published two books (“Mozart in Mainz”, “Händel in Rom”) and various essays in congress reports and musicological journals.ĭaniele Boccaccio (harpsichord, language coach Italian) His favourite research topics are the 18th century and Bach, Handel, Alessandro Scarlatti and Mozart as well as opera seria and oratorio. Teaches at the HfM Mainz stylistics of the 18th century. Karl Böhmer (musicology, Bach and Händel) We offer individual vocal coaching, lessons in vocal embellishment including cadenzas, recitative, round tables, performance training, auditions before agencies and concert organizators.Īnd last but not least the participants can enjoy interesting lectures from our musicological colleagues. Neumeyer Consort will accompany the singers under the direction of the returningconductor Paul Goodwin. That gives us the opportunity to adapt the existing music for our young cast next summer and create our own version of Radamisto – practice in Handel’s footsteps, so to say. And changes in the cast for later performances also necessitated alternative arias, transpositions, cuts, … The singers’ parts were written for his time’s finest singers: Sensino, Cuzzoni, Bordoni, Boschi, Durastanti, … But since the singers he had hired for Radamisto in the first place couldn’t make it in time to London for the premiere in 1721, Handel had to adapt his score for other singers. Georg Friedrich Handel‘s operas fortunately have found a broad audience since their re-discovery and are being performed ever more frequently. Since the musical style and its performance is new, the composers search for new moulds to structure their musical inventions, always guided by the principles of clarity of text and expression of emotions.Ī colourful continuo group of Ensemble Suttonia will accompany our second week’s chamber music programme. The first half of the 17 th century offers an immense treasure of continuo-accompanied vocal music: soli, madrigals, ensembles, dialoghi, cantate, … The names and forms vary. He and his contemporary musicians developed around 1600 the seconda pratica, the monodic style and created Baroque opera. Well, at the beginning of the so-called Baroque era. ![]() Telemann, Bach and Graupner will constitute the centre of our singers’ first concert of BVA 2023 with Ensemble Cydonia Barocca directed by Florian Heyerick.Īt the beginning there was … Monteverdi. And Fasch didn’t get permission from his employer to apply for the post at all. The preferred candidates had a higher reputation than Bach: Georg Philipp Telemann – but he negotiated successfully a higher salary at Hamburg then Christoph Graupner – but his employer, the Landgraf Ernst-Ludwig von Hessen-Darmstadt, also chose a prominent rise in salary to losing his beloved Kapellmeister. Johann Sebastian Bach – as strange as it may sound today – was not first choice for the magistrate in Leipzig when they set out to chose a successor to Kuhnau as Thomaskantor. The 2 nd Barock Vokal Akademie from Jul圓0 th until August 20 th 2023 features the following three topics:ġ723 – year of election of Bach as the new Thomaskantor (musical director of St.
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